Equestrian Living - January/February 2023 by Equestrian Living

EQUESTRIAN LIVING

EQ U E S TR I A N LIV I N G

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JA NUARY /FEB R UARY 2 0 2 4

DESIGN MASTER CLASS

LEARN FROM A M E R I C A’ S PREMIER DESIGNER S

THE

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PLUS:

CHELTENHAM RACES KARL COOK IRENE NEUWIRTH

JANUARY/FEBRUARY 2024

INTRODUCING

north vill ge

The latest chapter in the story of Windsor A private residential community in Vero Beach, Florida

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All information contained in this advertisement, including renderings and the configuration, elevation, and size of lots, lakes, common areas and roads, reflect preliminary plans only, are not to scale and are subject to change during the final design and permitting process, and should not be relied upon as representation, express or implied, of final detail. The developer expressly reserves the right to make modifications, revisions and changes which it deems desirable in its sole and absolute discretion.

EQ I N S I D E

FEATURES J A NUA RY | F E B RUA RY 2 0 2 4

GOLD IN SANTIAGO, CHILE

40 In a high-stakes competition, the U.S. Jumping Team took their final chance to qualify to compete at the 2024 Paris Olympics at the Pan American Games in Santiago, Chile. Revisit the team’s all-out effort in a photo gallery by Ashley Neuhof.

CHELTENHAM FESTIVAL

PHOTO BOB GOTHARD

Editor-at-large Rebecca Baldridge heads across the pond to attend one of England’s premier equestrian events, the Cheltenham Festival. The four-day jump-racing event considered the equivalent of Ascot, comes with unique traditions and unspoken sartorial requisites.

NIC FIDDIAN GREEN

DESIGN

IRENE NEUWIRTH

50 Irene Neuwirth, the imaginative and exceptionally talented jeweler, blends a modern and often whimsical mix of gem cuts, vibrant colors, and individuality throughout her exquisite collection. Unknown to many, she is also an accomplished equestrian who attributes many of her successes in life to riding.

DESIGN

PHOTO HUGO BURNAND/SLADMORE GALLERY

Ignite your imagination with the diverse portfolio of barn, arena, and home design projects in the 12th edition of the design feature. The scope of projects ranges from grand arenas and modern barn designs to multi-purpose stone structures and a scaled-down Martha’s Vineyard project short on square footage but big on aesthetics.

4 | EQU E S T R I A N L I V I NG | J AN UARY / FEB RUARY | 2024

NIC FIDDIAN GREEN

76 The English-born sculptor pays homage to the horse on a grand scale. His monumental sculptures rendered in bronze and marble are installed in prominent locations worldwide, adding an air of calm and nobility to the surroundings.

YOUR DREAM, Packaged to Perfection Timberlyne offers iconic, beautiful homes and barns featuring the strength and beauty of wood. Each design is customizable and allows you to create a one-of-a-kind structure built to last generations. Our experienced professionals are ready to bring your vision to life. Contact us today to start your Timberlyne journey.

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EQ I N S I D E

DEPARTMENTS J A NUA RY | F E B RUA RY 2 0 2 4

FAVORITES

Show jumper Karl Cook shares some of his favorites from restaurants and music to his proudest riding achievement.

Photographer Rachel Spencer captured two of the world’s best polo players in action at the U.S. Open polo final.

Plush Crafty Ponies are designed to integrate play and learning. DÉCOR

Create a horse-country ambience with a blend of old and new. FOOD + DRINK

The Tailgate featuring Casa Dragones tequila is the 2024 Windsor Charity Polo Cup signature cocktail. BOOK

An excerpt from The Fortune Seller by Rachel Kapelke-Dale. DESIGN

Peach Fuzz, Pantone’s Color of the Year, inspires recalibration and an air of calm. GIVING BACK

Anne Caroline Valtin leads Wellington International’s Great Charity Challenge, raising over $19 million for Palm Beach charities. STYLE

98 ON THE COVER

IN EACH ISSUE Cover photo: Paul Warchol Black Oak Farm in Loudon County, Virginia Architect: StudioMB Landscape: Campion Hruby Landscape Architects Millwork: McGinnis Millwork Project details on page 71.

EDITOR’S NOTE 8 Welcome to Equestrian Living. RESOURCES 94 Look for CONTACT INFO | PAGE 94 to find the products and services in this issue. BARN DOGS 98 Meet Dream Fetchers and its Unstoppable Dogs. The eight “handi-capable” canines with physical challenges prove love has no bounds.

6 | EQU E S T R I A N L I V I NG | J AN UARY / FEB RUARY | 2024

The soft texture of suede adds a touch of luxury. FASHION

The versatile neutral palette offers endless fashion possibilities. EQUESTRIAN PROPERTIES

Fabulous farms and ranches. PEOPLE

Jessica Jones, the visionary of Equestrian Gardens, is on a mission to design relaxing spaces for equestrians, wherever they are.

AMERICAN STALLS Luxury Stabling Equipment & Hardware

Make each second spent in your barn, a cherished memory. Luxury Stalls | Barn Doors | Windows

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EQ F R O M T H E E D I T O R

PHOTO GEORGE KAMPER

WELCOME

t’s hard to believe that it’s already a new year—a leap year at that—with promises of an extra day, a total solar eclipse visible to millions, and over 40 national elections worldwide. But most of all, it is officially the year of the 2024 Paris Olympics, which I eagerly await. Like many, I’m gearing up for an unforgettable spectacle of equestrian competitions at the historic Palace of Versailles. Vive le grandeur! To add to the anticipation, all four U.S. equestrian teams have qualified to compete in Paris. The jumping team had fans on edge as their chance to participate in the Olympics came down to an all-or-nothing, nail-biting qualifying competition in Santiago, Chile (page 40). The new year also signals Equestrian Living’s highly anticipated January/ February design feature. It’s become a go-to for access to some of the premier innovative and creative visionaries working in the equestrian barn- and

home-design sphere. The pages, lush with images and architectural project details, encompass a colorful range of projects. Working in harmony, architects and builders transform and reimagine properties that range from mixing stone and metal to create a modern, private family barn with a clean aesthetic to an elegant stone and wood bank barn design that seamlessly blends horse stables with a light-flooded event space and an unexpected barn-design project on Martha’s Vineyard that is short on square footage but big on style. In other creative pursuits, we introduce you to jewelry designer Irene Neuwirth, whose whimsical and modern designs shimmer with unexpected mixes of gems and colors that reflect her individuality. Unknown to many, Irene has been a horse lover most of her life and has competed as an adult amateur for years. And English-born sculptor Nic Fiddian Green pays visual homage to the horse on a grand scale. Many of his monumental sculptures are installed in prominent locations throughout the world, adding a sense of nobility and calm to the surroundings. Rebecca Baldridge, our editor at large, and endearingly referred to as our roving anglophile, acquaints us with the excitement and traditions of one of England’s premier equestrian events, the Cheltenham Festival, a four-day jumpracing event considered the equivalent of Ascot. Whether donned in her de riguer tweeds, Chilvers, or trilby or sporting a more refined topper for the occasion,

8 | EQU E S T R I A N L I V I NG | J AN UARY / FEB RUARY | 2024

you’ll find her ensconced in the finest enclosures amidst the thunderous thrill. In a bit of off-scripting, I’m commenting on show jumper Karl Cook, whose personal favorites are highlighted in this issue (page 12). In the July/August 2021 edition, we published “Karl Cook: 12 Questions” as he was wrapping up a challenging competition season in Wellington, Florida, fraught with a series of disappointing results. He knew he had to get to work and figure things out. For those who haven’t been following Karl, he’s figured things out in grand style and enjoyed an incredibly successful 2023. In addition to representing the U.S. on Nations Cup teams this year here and abroad and being a member of the gold medal-winning Pan American Games show jumping team that secured a place in the 2024 Olympics, he closed the year with a history-making win at the Inaugural $1 Million CSI5* Coachella Cup Grand Prix at Desert International Horse Park in Thermal, California. I hope he’s taking the time to toast his successes in 2023 with his favorite bourbon and to ring in the new year with sights set for more of the same.

Warm regards, Eau Paradise is closer than you think. A quick trip to Palm Beach and an easy stroll to an oceanside bar, sun-soaked swimming decks and sand between your toes. Disappear into a world of intuitive service, new culinary offerings, state of the art kids’ & teen clubs and the award-winning Forbes Five-Star Eau Spa.

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EQ F A V O R I T E S

Favorite bourbon: Whichever is in my glass. Seriously though, give me Bulleit Rye, and I’m happy.

Another riding discipline you’d love to try: I’m a jumper for life.

Favorite dog: Blueberry saved my life, so of course, her.

MY FAVORITES

Proudest riding achievement: Winning the Hampton Classic 2022 Grand Prix with my lady Kalinka.

Favorite food to cook at home: Risotto, no matter what my mood is, there is a risotto for that.

Favorite music on your playlist: Country.

KARL COOK

Favorite TV show: Dateline, for sure.

2NORTHG

UITAR

The place you’d most like to live: As long as I have Mackenzie, my dogs, and my horses, I don’t care.

Favorite charity: Stand Up For Pits, all the way.

ETSY-ST

ITCHRO V

Favorite hotels: Home. No hotel can beat home.

PE XELS -4

Based at Pomponio Ranch in Rancho Santa Fe, California, the reigning champion of the American Gold Cup CSI5* Grand Prix has represented the United States on Nations Cup teams in San Juan Capistrano, Langley, Falsterbo, and Barcelona this year. Most recently, Karl was a member of the gold-medal winning Pan American Games Show Jumping team that secured a spot for the USA in the 2024 Olympics to be held in Paris.

12 | EQ UE S T R I A N L I V IN G | J AN UARY / FEB RUARY | 2024

If you weren’t an equestrian you might have been: A Bourbon Distiller who also rides. COOK PHOTOS: ©ALDEN CORRIGAN MEDIA

Favorite restaurants: Encinitas Ale House in the U.S., and in Europe, a bakery with a fresh French baguette.

PE XEL S-

ANTON

I SHKRA

Blackburn Architects Years

BLACKBURNARCH.COM

FEQ AVO F ARVI O T ERSI T E S

A FAVORITE SHOT! Weather doesn’t stop a polo final or photographer RACHEL SPENCER.

he final of the polo U.S. Open had been delayed due to rain. There was much conversation about field conditions, and they finally decided it was now or never. Most of the day had stayed dry but gloomy. During the final chukker, it started raining, but play continued. With a tied game, two of the best players in the world were galloping toward the goal to decide the outcome. Rachel Spencer is a former hunterjumper rider and an avid international award-winning wildlife photographer. After watching a few polo matches through her lens, she became curious about polo for herself. It didn’t take her long to be playing full time. The combination of Rachel’s fine art and graphic design background and the love of the game has allowed her to see more through her viewfinder than just the action on the field. She sees polo as an art form and combines that with her favorite medium of black and white photography to give an emotional flare to the action on the field. During the winter months, when high goal polo is being played, you will find Rachel either on the sidelines or behind the scenes looking for that special shot.

CONTACT INFO | PAGE 94

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JA NUA RY/FE B RUA RY | 20 2 4 | EQ L I V I NG .CO M | 1 5

EQ D É C O R

HORSE COUNTRY AMBIENCE Create the appeal of ENGLISH COUNTRY DÉCOR with a refined blend of old and new. 3

1. The Martin Leather Ottoman by Pottery Barn in tufted leather is designed in the spirit of English gentlemen’s club furniture. $949-$1,049. 2. The setof-three snaffle bit stainless steel pots by Adamsbro are suitable for indoor use. $420. 3. Adamsbro’s forest green New Zealand lamb’s wool Halter Cushion in 60-centimeter square. $250. 4. Antique wool, hand-knotted Bidjar Persian rug, 12 by 18 feet. At Rug Source. $12,593. 5. German antique Rocking 16 | EQ UE S T R I A N L I V IN G | J AN UARY / FEB RUARY | 2024

Horse and Pull Toy at 1st Dibs constructed in wood covered in cow hide with leather tack. 31 by 44 by 14 inches. Price upon request. 6. Fortnum & Mason silver-plated Sugar and Creamer set. $464.65. 7. Hart Equestrian’s set-of-two Horse Portraits Collection II featuring a chestnut and dark bay in classic, neutral tones. Mats and frames not included. $40-$95. (Depends on size.) CONTACT INFO | PAGE 94

Setting the standard since 1978 Complete design services and fine craftsmanship Custom barns, arenas, garages and living quarters 1-888-354-4740 | www.kingbarns.com

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HOME IS WHERE YOUR HORSE IS

THE NEXT MOVE IS YOURS Home is Where Your Horse Is

1111 LINCOLN RD, PH-805, MIAMI BEACH, FL 33139. 305.695.6300 © 2024 DOUGLAS ELLIMAN REAL ESTATE. ALL MATERIAL PRESENTED HEREIN IS INTENDED FOR INFORMATION PURPOSES ONLY. WHILE, THIS INFORMATION IS BELIEVED TO BE CORRECT, IT IS REPRESENTED SUBJECT TO ERRORS, OMISSIONS, CHANGES OR WITHDRAWAL WITHOUT NOTICE. ALL PROPERTY INFORMATION, INCLUDING, BUT NOT LIMITED TO SQUARE FOOTAGE, ROOM COUNT, NUMBER OF BEDROOMS AND THE SCHOOL DISTRICT IN PROPERTY LISTINGS SHOULD BE VERIFIED BY YOUR OWN ATTORNEY, ARCHITECT OR ZONING EXPERT. IF YOUR PROPERTY IS CURRENTLY LISTED WITH ANOTHER REAL ESTATE BROKER, PLEASE DISREGARD THIS OFFER. IT IS NOT OUR INTENTION TO SOLICIT THE OFFERINGS OF OTHER REAL ESTATE BROKERS. WE COOPERATE WITH THEM FULLY. EQUAL HOUSING OPPORTUNITY. .

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EQ F A V O R I T E S

A SOFT APPROACH TO PONY CARE The plush creations of CRAFTY PONIES help teach children how to care for their real-life horses. BY JILL NOVOTNY

he Cheshire Horse has created a line of educational equestrian toys that are just the thing for horse-crazy kids. Crafty Ponies are plush horses that are designed to integrate play and learning. More than just stuffed animals, they are educational toys that offer children the opportunity to engage with horse care, riding equipment, and more for endless hours in the comfort of their own bedroom. “Crafty Ponies’ ethos is to help children to learn about ponies in a fun, safe way,” says founder Karen Clithero. “The heart of our business is to bring joy and learning and help to develop children’s creativity and imagination through realistic role-play.” Karen created the first Crafty Ponies for her three daughters in 1991. At the time, she had very little money, so she made each of her daughters a small stuffed pony, complete with tack and accessories. She constructed the ponies from an old cotton sheet and the manes and tails from knitting wool. The use of fabric paints allowed for different colored ponies. Karen crafted the saddles and bridles from an old leather jacket purchased at a charity shop, and her brother made each of them a wooden stable. She also made little instruction booklets to help her daughters understand the parts

of the tack and how to put it on. Karen quickly discovered these toys were more than just a plaything for her children. The following year, her daughters received their first real pony, and they already knew how to put the tack on, properly tie and groom the pony— all from playing with their stuffed toys! It became clear that the skills her children learned transferred directly into hands-on experience at the barn. Karen realized she had a gem on her hands and began putting the toys into fullscale production. The plush toys feature a sweet face, a soft coat, and braidable manes and tails. Every Crafty Pony comes with a booklet that teaches children how to care for their new friend properly. The ponies measure over 18 inches long and just over 10 inches tall and come in a wide variety of colors. “Not long after we launched the ready-made Crafty Ponies, I discovered an online printer of booklets. I learned

20 | EQ UE S T R I A N L I V IN G | J AN UARY / FEB RUARY | 2024

how to use a drawing pad attached to my laptop and made the first booklets, which now accompany all the products,” Karen continues. Her expansive experience with horses and ponies and her years spent teaching at their riding school helped her to write the booklets in a fun and accessible way that assists the children in gaining hands-on skills. From how to properly tack their ponies to how to run up their stirrups, Crafty Ponies teach proper horsemanship skills from the ground up. The product line now includes English and Western tack, lunging equipment, harnesses, leg wraps, pony clothing, grooming sets, farrier and veterinary sets, and more. The items are realistic and accurate to their true-life counterparts. Blankets, polo wraps, and tack are applied in the same fashion as real horses, and equine health professionals perfectly sized for the ponies measure 14.5 inches tall. Karen’s educational ponies have won many awards for creativity and learning, and they are used by teachers, schools, and riding centers to help both children and adults learn about ponies in a fun, safe way. Throughout its growth and expansion, Crafty Ponies has remained a thriving family business based in West Yorkshire, England. CONTACT INFO | PAGE 94

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EQ F O O D + D R I N K

LUXE LIBATIONS

F L AVO

LOC

The 2024 WINDSOR CHARITY POLO CUP’S signature cocktail features Casa Dragones Tequila.

ARIC ATTAS

TR UN CO TES SE ORI R H O FAV

THE TAILGATE INGREDIENTS 1½ oz Casa Dragones Blanco ¾ oz Triple Sec ¾ oz lime juice Splash of Champagne PREPARATION 1. Combine all ingredients except the Champagne in a cocktail shaker. Shake with ice. 2. Pour and top with a splash of Champagne. 3. Garnish with a slice of lime.

One of the most enjoyable parts of the biennial Windsor Charity Polo Cup is strolling along the east side of the field and viewing the casually elegant décor displayed by the tailgate guests. Each year, a theme is selected and prizes are awarded. From whimsical to elegant with sumptuous spreads, the creativity and camaraderie of the tailgate is a must-see. “This year’s tailgate theme is ‘Fashion Trends Through the Decades,’ and we look forward to seeing some very stylish tailgaters representing fashion and fads from over the years,” says Windsor member and the event’s tailgate chair Stacey Lewis. Presented by PNC Bank at the private residential community of Windsor over Presidents Day weekend, the Windsor Charity Polo Cup is recognized as the signature high-goal charity polo match of the Vero Beach season. The family-friendly event raises funds for worthy Indian River County charities. Crafted by Windsor’s Clubhouse bar and in the spirit of the sport of polo, the 2024 Windsor Charity Polo Cup Signature Cocktail is aptly named “The Tailgate” and features this year’s Specialty Cocktail Sponsor Casa Dragones. Exceptional tequila starts with exceptional soil. Casa Dragones’ agave fields are located within the Eje Volcánico Transversal (Trans-Mexican Volcanic Belt) in Tequila, Jalisco, a chain of active and inactive volcanoes across Mexico. Here, the combination of soil, climate, and altitude produces the ideal agave plants to create the signature taste of Tequila Casa Dragones.

CONTACT INFO | PAGE 94

22 | EQ UE S T R I A N L I V IN G | J AN UARY / FEB RUARY | 2024

The Art of Horsemanship

• World-class equestrian center • Exceptional equestrian studies program • National championship team Your future is bright at SCAD.

To learn more about SCAD equestrian or explore other award-winning programs, visit scad.edu or email admission@scad.edu.

La Victoria Farm

Skara Glen

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20 Stalls | 7 Irrigated Paddocks | Owners Quarters | 2B Staff Quarters | Hack to Showgrounds

Sotheby’s International Realty® and the Sotheby’s International Realty Logo are service marks licensed to Sotheby’s International Realty Affiliates LLC and used with permission. Equestrian Sotheby’s International Realty fully supports the principles of the Fair Housing Act and the Equal Opportunity Act. Each franchise is independently owned and operated. Any services or products provided by independently owned and operated franchisees are not provided by, affiliated with or related to Sotheby’s International Realty Affiliates LLC nor any of its affiliated companies. The information contained herein is deemed accurate but not guaranteed. Pricing subject to change without notice.. All rights reserved. All copywriting and photography are property of Equestrian Sotheby’s International Realty. Reproduction and distribution without written permission are prohibited.

PRESENTED BY

David Welles P.A.

Palm Beach Point

AP Hacienda Farm

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Global Real Estate Advisor | Wellington, FL 561.313.9123 david.welles@sothebys.realty wellesproperties.com

Offered at $6,950,000

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EQ B O O K S

TH N S EE ER W V O C

THE FORTUNE SELLER An excerpt from the novel by RACHEL KAPELKE-DALE.

he Yale stables were, as a therapist would later explain to me, my happy place. The place where everything I loved— animals, biology, the outdoors, my friends—came together. Where the work you put in had a direct impact on the results you got. To a point, of course; I was never going to be a world-class show jumper. But the more I worked, the better I became. It was beautiful and golden and, in the fall, the trees surrounding the valley colored so vividly, it looked like they were on fire. A year in another barn hadn’t erased my love for our stables. If anything, the similarities, the same things that every barn has—the stalls, the feed, the horses—only sharpened my nostalgia. We approached the barn door. Hanging bridles, snorts and whinnies, the wholesome golden smell of hay. I was home. I stood for a second at the entrance and breathed it all in. And then started to make my way down the center, running back and forth to greet all of the horses I’d known, all of the horses I’d loved. All of the horses I’d missed. They were the main reason I’d come that day. Honey, Lady, Bambi, nickering and nuzzling my shoulder, stomping in anticipation, demanding that I come see them. And Cress, following behind me with a low giggle at each silly animal. It wasn’t technically my lesson—I was in Intermediate, a level below Cress, and I’d have my own lesson group––but beyond my need to be in the one place that felt like home at Yale, I had to see Annelise. She’d taken a taxi out on her own at the crack of dawn. The promise of seeing her ride was 26 | EQ UE S T R I A N L I V IN G | J AN UARY / FEB RUARY | 2024

too appealing: she couldn’t possibly live up to the rumors of her greatness. If she was that good, I wanted to see it. And if she wasn’t, I wanted to see it, too. And then there was Thumper. Cress had had Bambi with her since first year, and now she had a second horse, a Dutch warmblood. Nobody but Cress would be allowed to ride Thumper, just like no one else was allowed to ride Bambi. Not even you, she’d written me over the summer. You need more than bravery to ride that guy. At the very end of the dusty row, peeking over his gate with large, curious eyes, there he was. Even in the dark, Thumper glittered. Curious, perked ears; a white streak down his nose. And an awareness to his gaze that you couldn’t train in—they had to be born with it. “Cress, he’s gorgeous.” I reached out a hand to stroke him, but— “Careful!” she shrieked, just as his teeth snapped down, sharp, on my hand. For a second, I couldn’t figure out what had happened; horses just like me, they always have, and it had been ages since I’d been bitten. It felt like getting my hand caught in something heavy, and I yanked it back, staring in a daze at the blood welling up from the places where he’d broken the skin. Cress grabbed his halter, pulled his head toward her. He let her stroke his nose, all right. “Fuck, sorry. Yeah, he’s gorgeous, but he’s mean as a snake. Dad says Queen of Sheba was the same.” “Yeah, I’ve heard that about Queenie’s temper,” I said to Cress now, laughing shakily as I stared at my hand. The area around the toothmarks was flushed bright red; it would bruise. I was lucky he hadn’t taken off a finger. After all, I knew animals: I grew Continued on page 28

EQ B O O K S OK

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THE FORTUNE SELLER

up with cats, dogs, rabbits, an unfortunate hamster, and a gerbil with a nasty temperament. “Come on, let’s get you a Band-Aid,” she said, steering me to Shannon’s office at the end of the row. I held my hand up in front of her. “Or, like, one of those wraparound bandages,” she said, looking at the size of the bite. “Fuck.” The first-aid kit was ancient but had an Ace bandage, and Cress obligingly dabbed me with rubbing alcohol, despite my hiss, and wrapped it up for me. “I don’t think I want to fuck with this today,” I said weakly. “Maybe I’ll just watch.” She looked at my gauzy hand, opened her mouth. Paused as the blood seeped through to the outer layer. “Good idea,” she said, finally. “And hey, you’ll get to see Annelise ride.” “You guys were saying she’s only in Novice?” “Yeah, she sweeps it. You’ll see.” “But why’s she in Novice if she’s so good?” Novice was the dividing line between the nonjumping classes (Walk-Trot and Walk-Trot-Canter) and the jumping ones (Novice, Intermediate, Open). When you won or placed in your class, you got a certain number of points; after hitting a point threshold, you pointed up to the next level. Cress giggled. “Because she didn’t compete before. We already had Walk-Trot stacked, so we put her in Walk-Trot-Canter. But she pointed up too quickly, the bitch. She’ll be Intermediate any day now.” “Is she good enough for that? Like, is she as good as me and Andra?” “She’s better,” Cress said, and made an exaggerated wince. “Sorry. But that’s why she takes Open classes. She’s one of the best riders on the team, full stop.” “Why didn’t she compete at Stanford, then?” “Something about the captain and the coach. They had it in for her, I guess? She says she did two weeks first year but couldn’t take the vibes. So she just trained private after that.” “Is she okay on a team, then? Not too competitive?” Cress smirked. “You just have to see, okay? But, I mean, yeah, she still has stuff to learn. Like, she asked to ride Thumper the second she saw him.” Nobody rode Cress’s horses. “Oh shit,” I said. 28 | EQ UE S T R I A N L I V IN G | J AN UARY / FEB RUARY | 2024

TH N S EE ER W V O C

RACHEL KAPELKE-DALE

“For most of us seniors, this was the last time in our lives we’d ride seriously. For most of us, it was the last time we’d ride, period.”

“Right? And then, when I said no”—Cress leaned in toward me, lowering her voice—“she offered to pay me to let her ride him.” She widened her eyes. I snorted, despite the disloyalty of it all. Then the laughter came, rolling out of me. The one thing Cress had no use for at all was extra money. Cress, though, wasn’t laughing. “I mean, I guess it’s funny,” she said. “But it’s also just...weird. There are some things you can’t buy, you know? Who doesn’t know that?” Besides that: An untested rider on a temperamental horse? It wasn’t a combination that would lead you anywhere good. And only Cress herself would be to blame. “I can’t wait to see what Thumper can do,” I said as Cress yanked a beautiful, rich brown saddle from the wall—brand-new, barely broken in—and a fluffy saddle pad. “Will you grab his bridle?” she asked. “If you think I’m getting anywhere near his mouth again...” I called as I headed to the corner where it hung, shiny and new among the worn school bridles. At the stall, I handed it to her and stepped back. “So, why’d you bring him?” For most of us seniors, this was the last time in our lives we’d ride seriously. For most of us, it was the last time we’d ride, period. And we competed on whatever horses the host school provided; that was what we were judged on, after all. How well we adapted. Bringing your own horse to train on seemed, at best, pointless. At worst, a total waste of money, with the fees it cost to stable them. But Cressida had always been different. “Dad says I have to get better, fast, if I’m going to make it on the circuit,” she said as she slid the bridle on, then reached for the saddle pad. “He thinks I can only do it with the right horses, though. He said it’s like learning another language. And the only time to do it is when you’re young.” “That makes a lot of sense.” She paused, cradling the beautiful new saddle in her arms. “Rosie,” she said. “Do you really think I can make it?” I swallowed. “Again,” I said. “Another question for Annelise.” Continued on page 88

EQ D E S I G N

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This private estate is situated on 10.83 acres in the heart of Wellington’s premiere gated equestrian subdivision of Palm Beach Point. The 5BR home also boasts stone floors, center-island kitchen with gas cooking, a spacious master suite with his and her offices and a home gym. The riders in the family will love the 12- stall courtyard barn, 8 generous grass paddocks, round pen and arena. The property lends itself to a covered arena and or a grass grand prix field. Every detail of this beautiful farm was painstakingly thought through and must be seen to be truly appreciated. Offered at $9,800,000

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Prime location on 20 acres within minutes of both showgrounds & IPC! The farm boasts 2 barns totaling 32 stalls, 150' x 300' riding arena with new footing, 10acre grass riding field, 9 generous grass paddocks, round pen & euro-walker. The 10-acre field is high & dry and the ideal location for your home, Grand Prix field and covered riding arena. The location is great for hacking out your horses on the quiet bridle paths of south Wellington. Offered at $11,500,000

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Buyer and Seller Representation Official Sponsor of the Adequan Global Dressage Festival M AT T J O H N S O N . E N G E L & VÖ L K E R S F LO R I DA Selling Wellington and the Palm Beaches M +1 561-313-4367 matt.johnson@evrealestate.com Learn more at mattsells.com ©2024 Engel & Völkers. All rights reserved. Each brokerage independently owned and operated. Engel & Völkers and its independent License Partners are Equal Opportunity Employers and fully support the principles of the Fair Housing Act.b

LEE HERSHFIELD

EQ G I V I N G B A C K

BY SARAH LESSLER

THE GREAT CHARITY CHALLENGErooted in ANNE CAROLINE VALTIN leads the Wellington International event that has raised over $19 MILLION for Palm Beach charities.

mid the succession of competitions at the Winter Equestrian Festival (WEF) in Wellington, Florida, stands a remarkable event, the Great Charity Challenge (GCC), sponsored by Fidelity Investments, where top riders swap their typical attire for extravagant costumes. Sparkling ensembles, inflatable outfits, and wigs adorn riders and horses during the Saturday Night Lights event, adding a whimsical touch to the typically serious sport of show jumping. This remarkable evening transforms the International Ring into a vibrant display of themed team unity and creativity, all supporting Palm Beach

County charities. Anne Caroline Valtin, the executive director of the Great Charity Challenge, stands as an exceptional individual, dedicating her career to enhancing the lives of others. Her influential efforts have significantly impacted the equestrian world, offering a powerful means to make a difference. Anne Caroline, originally from Belgium and France, discovered her passion for horses at age 11 and says, “Once I was in the barn, I never left. It was like an instant connection for me.” She now calls Wellington, Florida, home. Fresh out of college and working in sales for equestrian brands, Anne Caroline attended the inaugural Great Charity Challenge at WEF. Witnessing the event as a spectator, she had an epiphany:

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“This is what I’m meant to be doing. This is where I am meant to be.” Initially founded by the Bellissimo family, the event raised $500,000 in its inaugural year. “I’ve always been passionate about horses and charitable activities,” notes Anne Caroline, “and this was a unique opportunity to actually merge both.” Hired by Equestrian Sport Productions (ESP), she persistently advocated to lead the GCC. At only 24 years old, with no non-profit or management experience, Anne Caroline stepped into the position to direct the GCC with ESP’s confidence and belief in her. “I felt so strongly about the event’s mission and refused to let it fail in any way, shape, or form,” she affirmed.

LOIS SPATZ

CARLY NASZNIC

LS PHOTOS

EQ G I V I N G B A C K

Anne Caroline credits Mark and Paige Bellissimo as the major driving force behind the success of the GCC. When she assumed the management reins for the event’s second year, she focused on making it run smoothly rather than reinventing the wheel, and the challenge raised $1,000,000. Witnessing the event’s profound effect on the community, she reflects, “When you start meeting the people that those funds impact, it builds a fire. We wanted to create a legacy that would be solid and continue even beyond us.” Along the way, some key donors took time out of their schedules to hold her hand and help lead the way. They recognized Anne Caroline’s passion and invested in her to ensure the event’s success. The GCC stands out for several unique reasons, particularly because the horse show covers all the expenses associated with hosting the event. Anne Caroline notes, “By covering all costs, 100 percent of the proceeds go directly

Above, clockwise from upper left: Michael Stone, president of Wellington International assisting in the charity raffle drawing process. During the 2021 Covid Edition, Team Gut Einhaus dressed up as Anne Caroline for their superhero. GCC competitors during the 2023 Candy World-themed edition.

back out into the community. We operate as a pass-through entity using an account through the Fidelity Charitable Fund ensuring complete transparency.” The event presents a substantial investment from the horse show, yet the return experienced within the community is profound. Beyond the equestrian sphere, Palm Beach locals, initially not involved in horse-related activities, have become familiar with the GCC, recognizing its deep commitment to their community. The GCC class is a relay race with a sliding scale of prize money distributed. Typically, each team includes one professional rider who jumps at 1.30 meters and two junior or amateur riders who jump at 1.10 meters and 1.20 meters. The course has seven jumps at each jump

height. First, the 1.10-meter rider jumps their course. As soon as they land from their last jump, the 1.20-meter rider begins, followed by the 1.30 rider to cross the finish line. A team’s final score includes points added for each refusal or rail. The team with the lowest time and total score wins with $100,000 awarded to their charity. Even with an elimination, the team placing last is still awarded $15,000 for the charity they represent.

nitially, extravagant costumes weren’t a part of the event. It wasn’t until the seventh year that Anne Caroline proposed the idea to Mark Bellissimo. She believed integrating costumes could help spectators outside the sport to relate and engage. This innovative addition took the event in a new direction, attracting not just younger athletes, but also their families. “Each year, I’m amazed by the costumes. I often find myself asking, did they really just arrive on a horse dressed JA NUA RY/FE B RUA RY | 20 2 4 | EQ L I V I NG .CO M | 3 3

THE GREAT CHARITY CHALLENGE

like that?” Anne Caroline chuckles. Traditionally structured and sedate, the International Ring takes on an unconventional dimension through the GCC, fostering a space for innovation and creativity. About two years ago, Annabelle Garrett of Postage Stamp Farm Foundation approached Anne Caroline. She wanted to incorporate younger riders who weren’t old enough to compete in the event. As a result, they started the “Pet Parade.” Children now parade with a colorful mix of pets dressed up in costume on behalf of an organization. Also, Anne Caroline brought on a colleague/partner, Kelly Arani, to support the event’s growth as event and marketing director. Kelly is an accomplished equestrian herself with a passion for creating change.

EQ G I V I N G B A C K

and commitment to execute the event despite the challenges. “It was a genuine showcase of how important the event is to the community. The accomplishment truly goes to the donors, sponsors, and the horse show that makes it possible. It is teamwork at its finest,” Anne Caroline emphasized. In 2023, the Great Charity Challenge raised $1.8 million. Anne Caroline happily reports that

LOIS SPATZ

efore the competition even begins, $50,000 has already been given to non-profits. The Great Charity Challenge has fostered an inclusive and inviting atmosphere for community members, encouraging them to attend with their families. This engaging environment allows everyone to enjoy the showgrounds and easily connect with the competition, thanks to the presence of costumes and pets. When discussing Anne Caroline’s notable achievements, she spoke with admiration about the dedicated team behind the event. Recalling the 2021 Great Charity Challenge, which faced restricted public admission due to COVID-19, she praised the team’s unity

education and housing, such as the Education Foundation of Palm Beach County Inc., Project Lift, Caridad Center Inc., and Quantum House, among 300 others. Anne Caroline emphasizes the benefits of collaborating with a broad range of organizations to support individuals in need, saying, “That is how you lift a person out of their current situation. It allows for a true holistic approach.” Approximately 30 to 35 non-profits are chosen annually, and Anne Caroline facilitates connections among them to empower clients. Afterward, Anne Caroline says she hears that these connections end up working together. Since its inception in 2009, the GCC has granted $19.4 million to Palm Beach charities. Anne Caroline remains committed to using the equestrian community’s privilege for local benefits. “Enabling the privilege that the horseshow community brings to help the local community is what I want to continue my focus on,” she states. Anne Caroline is currently raising her young family and cherishing those moments. While taking a hiatus from competing, horses are part of her everyday life living on her farm. Through her work, Anne Caroline says, “Creating connections allows for great things to happen. It’s fantastic to have a seat at the table and know what people are doing in the community.”

the new ownership and management at WEF truly supported the vision of the GCC and enabled them to keep the legacy going. Currently, Anne Caroline handles all the charitable and philanthropic efforts for Wellington International. The event’s impact spans diverse charities, from supporting veterans to

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CONTACT INFO | PAGE 94

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EQ F A S H I O N

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1. The tan Signature Riding Jacket by Yagya in exclusive Italian jersey fiber. Pairs with their riding breeches. $208. 2. The Frankie Shop’s Jodie Double Pocket Coat in midweight wool blend with padded shoulders and storm flap detailing. $630. 3. Loewe’s Scarf in white mohair and wool blend with embossed leather logo. $380. 4. Kork-Ease Bristol Boots in a breathable taupe, Marmotta suede. $185. 5. The mini Paige Wrap Skort at The Frankie Shop boasts shorts with front skirt panel and back seam zip closure. $132. 6. Dior’s praline flamed Shantung Jacket and Pants ensemble. Price upon request. 7. The Mini Miller Crossbody Bag by Tory Burch features a stacked T logo applique, divided compartments, and webbed strap. At Nordstrom. $298. 6 38 | EQ UE S T R I A N L I V IN G | J AN UARY / FEB RUARY | 2024

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he stakes were high. The U.S. Jumping Team lost to Brazil by one time fault in the single 2024 Olympic qualification spot available at the Longines FEI Jumping Nations Cup Final in Barcelona, Spain. Consequently, the U.S. team members knew they had only one more chance to earn an opportunity to compete at the Palace of Versailles at the Paris 2024 Olympic Games. They needed to win big at the Pan American Games in Santiago, Chile, an event known for its stiff level of competition. The team members and their mounts comprised of McLain Ward and Contagious, Kent Farrington and Landon, Laura Kraut and 1

Photos: 1. Laura Kraut and Dorado 212. 2,3. Karl Cook rides Caracole de la Roque. 4. Kent Farrington rides Landon to individual silver. 5. McLain Ward rides Contagious to team gold and individual bronze. 6. The team L to R: Laura Kraut, McLain Ward, Karl Cook, Kent Farrington

PHOTOS ASHLEY NEUHOF BY STEPHANIE PETERS

Dorado 212, and Karl Cook and Caracole de la Roque, each with the singular focus of getting the job done, pulled together to not only secure a place on the Olympic team but to medal at the Pan American Games. With a bit of a storybook finish, the team won gold in Santiago, with Canada finishing second and Brazil third. “I think there’s a huge sense of relief with the team’s finish today,” Chef d’Equipe Robert Ridland told USEquestrian. “We really brought this down to the wire in terms of qualification, and the team produced today, especially with three clears in the first round and four in the second.” CONTACT INFO | PAGE 94

GOLD IN SANTIAGO U.S. IS OLYMPICS BOUND

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JA NUA RY/FE B RUSA RY 20 2 4 | EQ L I V I NG .CO M | 4 1

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C H E L T E N H A

ABOVE: Runners take the water jump during the Ultima Handicap Chase on Day One. OPPOSITE: Her Majesty Queen Camilla enjoys the racing on Ladies’ Day (Wednesday). 44 | EQ UE S T R I A N L I V IN G | J AN UARY / FEB RUARY | 2024

A M

AFTER LAST YEAR’S VISIT TO ROYAL ASCOT, EQUESTRIAN LIVING’S ROVING ANGLOPHILE EDITOR GOES TO THE CHELTENHAM RACES.

BY REBECCA BALDRIDGE

A PERSONAL

TRAVEL DIARY

eneath the leaden Gloucestershire sky, a pullulating mass of tweed confirmed that I was nearing the entrance to the Cheltenham Racecourse. It was Day Two of the Cheltenham Festival, the National Hunt equivalent of Ascot, and the midMarch weather was as to be expected. At each step, a fine mist assaulted my trilby, and viscous mud squelched under my Penelope Chilvers boots. But no matter how unwelcoming the damp English climate, it was no match for my joy. Then known as the Grand National Hunt Meeting, the Cheltenham Festival was established in 1860 and moved to its present home at Prestbury Park in Cheltenham in 1911. The festival runs Tuesday through Friday every March, typically coinciding with St. Patrick’s Day, and draws lovers of jump racing from all over the United Kingdom and Ireland. The prize money is second only to the Grand National, and the festival culminates with the renowned Gold Cup on Friday. The traditional racegoers’ attire is tweed, complemented by Barbour, and, of course, extravagant headgear for the ladies and flat caps for the gents. Given the footing, stout boots are the order of the day. My jump racing adventure was to extend over two days, so Wednesday was mainly a scouting mission. Thursday promised to be the big day at the Horseshoe Pavilion restaurant, courtesy of Great British Racing. Today, before the appearance of my JA NUA RY/FE B RUA RY | 20 2 4 | EQ L I V I NG .CO M | 4 5

adult chaperone, I could indulge my enthusiasm without restraint. I made for the Best Mate Enclosure. It might be the cheapest ticket, but it was closest to the track. Elbowing through the boisterous masses, I drew up to the rail, dabbing ineffectually at my disturbingly beersodden sleeve. From my vantage just past the final jump, I thrilled at the horses thundering down the home stretch from my vantage point just past the final jump. Sadly, even this spectacle was insufficient to ward off the rising damp.

ircumstances demanded a steaming cuppa char and a bit of shopping. Cheltenham’s Shopping Village is a dream come true for the acquisitively minded, surpassing even the Hampton Classic in its bounty. Equestrian art, jewelry, hats, tweeds, Barbours, boots—you name it, you’ll find it. One stall was solely devoted to hat trimmings! I glided away with a clutch of pheasant feathers affixed to my trilby. My magpie eye alighted upon something sparkly; a silver snaffle-bit necklace soon 46 | EQ UE S T R I A N L I V IN G | J AN UARY / FEB RUARY | 2024

enhanced my countrywoman ensemble. My further progress came to a screeching halt in front of Stevenson Brothers Rocking Horses. A handsome gallant bobbed gently on a wooden bay. “Keep those heels down; who taught you to ride?” He laughed, dismounting, and I took his place. The ride was smooth and peculiarly hypnotic. As we chatted, he admitted that he was not a rider, but “his partner was a professional.” Photos: 1. Despite the rainy weather, fes- I clocked a photo of Charlotte Dujardin with her own Stevenson Brothers Valegro, and the tive hats are still de rigeur. 2. If you’re worried about the pieces fell into place. “YOU’RE CARL HESTER’S cost of hay and vet bills, the BOYFRIEND! YOU KNOW BLUEBERRY.” (For Shopping Village has a horse for those of you who don’t follow grand prix you. 3. At Cheltenham, no amount of Dressage, Blueberry is the barn name of world tweed is too much. champion and Olympic gold medalist Valegro). 4. Leprechauns made it all the The furor attracted one of the Messrs. way from Ireland for St. Patrick’s Stevenson, and he explained that Stevenson Thursday. rocking horses are not for children (as evinced 5. The author, outfitted by the by a price north of £5000) and are practical as Cotswold Hat Club. 6. A birds-eye view of the Parade well as exquisite. He noted that he took his Ring and Winner’s Circle. morning exercise on one of his mounts. “It’s 7. The Princess Royal awarded the Boodles Gold Cup on Friday. good for the back.” Her late Majesty also owned a Stevenson rocking horse. I wondered aloud

A PERSONAL

TRAVEL DIARY

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Photos: than we should over a full English. I’m almost whether she rode it. “I can’t say, but she did 1. Runners headed for the post. late for my appointment with Rachel Hawkins, mention that the gait is very smooth.” 2. Jockey Nico de Bonneville proprietress of The Cotswold Hat Club. Given In my excitement, I had lost track of time. and Constitution Hill win the my history of misadventures involving hats and Championship Hurdle. London Boy (LB), my responsible adult, was 3. Paul Townend (in yellow) horses, she agreed to deliver my hired chapeau arriving shortly by train, and I could hardly on Galopin Des Champs clears and anchor it in place personally. I set off for the leave him in the lurch. I arrived just as he the last hurdle ahead of Harry track confident that my magnificent green topwafted past the Way Out sign, and we set off Cobden on Bravemansgame to per would survive the rigors of the day. for Stow-on-the-Wold’s Stag Inn. Hotel rooms win the coveted Gold Cup. St. Patrick’s Thursday is tremendously popu4. The thrill of victory. in Cheltenham come at a premium during 5. Olympian Zara Philips models lar, with crowds twice the size of Wednesday. the festival, demanding a willingness to book the perfect updo to complement It appeared that half of Ireland had arrived, months in advance and part with a goodly sum. her hat. and shamrock green vied for dominance with It’s less of an insult, and infinitely more fun, to earth-toned tweed. Paddy Power, an Irish gamovernight in one of the impossibly charming Cotswold villages ing company known for cheeky marketing, distributed bright nearby. Although not so far as the crow flies, Stow is a full 40-minute green underpants (Y-fronts in the local parlance), which the early drinkers enthusiastically donned over their trousers. drive down narrow country roads through a designated Area of London Boy, ever urbane, politely declined the colorful offer. Outstanding Natural Beauty. Sheep bleat and lambs gambol in Through the kindness of friends at the luxury lifestyle comrolling green meadows while cunning cottages made from local limestone gleam golden even on the dreariest days. London Boy pany Quintessentially, I was introduced to Minty Farquhar of Great British Racing, the official marketing and promotional is particularly taken with The Stag, meaning we linger longer 48 | EQ UE S T R I A N L I V IN G | J AN UARY / FEB RUARY | 2024

A PERSONAL

body for horse racing in the United Kingdom. She had planned a spectacular day for us, beginning with a special invitation from Tattersall’s. We piled into a forest green Bentley SUV, the official luxury car of the Cheltenham Festival, and headed toward the stables. After coffee and “second breakfast” courtesy of Tattersall’s hospitality, we enjoyed a private showing of Thoroughbreds to be auctioned 5 after the day’s racing. London Boy knows the drill; it wasn’t his first rodeo. He waited, Zen-like, while I exclaimed over each horse as though it were the first Thoroughbred I’d ever seen. Some things never get old. With the viewing over, it was time for the races. I insisted we start in the Best Mates enclosure, but I’m not entirely heartless. It was raining again, and the long-suffering LB, stoic though he might be, deserved an indulgence. I suggested a trip to the Guinness Village; beer always puts a spring in his step, and the English start early. Not surprisingly, it was heaving with raucous English and Irish men, a fair number sporting the green underpants. Lover of English customs I may be, but I prefer my pints taken from the seated position. Turnabout is fair play, though, and God knows LB, a thoroughly urban creature, has braved inclement weather and muddy stable yards on my behalf more times than I can count.

e rejoined Minty in the Horseshoe Pavilion. It was warm, TV screens relayed the racing, and an open bar beckoned. Bliss. Minty introduced us to GBR’s other guests. Straightaway, we hit it off with Doug and Lucy Proctor, owners of the Glanville Stud in Dorset. On Tuesday, Honeysuckle, a mare they had bred, retired from her jump racing career with an emotional win in the Close Brothers Mares’ Hurdle. Honeysuckle was ridden by Rachael Blackmore, MBE, an Irish jockey and the first woman to win the Grand National in 2021. Her ride in the Ryanair

TRAVEL DIARY

Chase later in the day ended in another victory, as I had anticipated. The Horseshoe Pavilion is one of several restaurants at the track, and racegoers willing to part with £695 enjoy all-enclosure access, a champagne reception, a four-course luncheon, afternoon tea, an open bar, TV coverage, and a betting service. A soupçon of guilt nagged at me. Were I a true devotee, I’d be at the rail, rain and beer-sodden crowds be damned. But the siren call of bottomless champagne, good company, and concern for Rachel’s glorious hat, won the day. I turned to LB and gestured to a blonde woman standing with her back to us. “Look at her hair!” I exclaimed enviously. “That’s the best hat hair I’ve ever seen!” A mass of blonde curls was pinned into an elaborate chignon under her pert wine-colored hat. She turned. It was Zara Philips. Of course, it was. Between Minty and the Proctors, I was getting properly schooled in the finer points of jump racing. Aside from several trips to the Parade Ring to see the competitors up close, we remained in the Horseshoe Pavilion until the racing was over and it was time for the Tattersall’s auction. Doug and Lucy accompanied us to the ring, offering lively commentary on each horse in turn. As the auction finished, we bade farewell to our new friends and struck out for the enormous and unpaved car park. Our perfect day of racing devolved into a 30-minute slog through muddy fields, searching for the nondescript A class whose number plate I had failed to note. Another horror awaited. Just outside Toddington, our front wheels encountered the largest pothole this side of the BQE. Inevitably, we had a puncture. I am sad to say there is no Uber in the Cotswolds. With no advance booking, no taxi was forthcoming. The savvy traveler will heed my warning. Book your transportation in advance. Do not drive to the track. Freed from onerous responsibility, you can drink, be merry, and enjoy some of the best jump racing in England. CONTACT INFO | PAGE 94 JA NUA RY/FE B RUA RY | 20 2 4 | EQ L I V I NG .CO M | 4 9

T H E I N CO M PA R A B L E C R E AT I O N S O F

IRENE NEUWIRTH The free-spirited jeweler is enjoying a well-lived life at the intersection of creativity and equestrian sport.

“

COURTESY OF IRENE NEUWIRTH

old on, someone is digging a hole in my hair,” Irene laughs as one of her Labradoodles makes his presence known during the interview. The momentary interruption of affection set the tone for a lively conversation with California jeweler Irene Neuwirth.

BY STEPHANIE PETERS

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Her imaginative designs, recognized and adored worldwide, would suffice for some. However, in the equestrian community, she is known as an accomplished rider, competing and winning nationally at adult amateur-owner hunter division events. Curiously, her two worlds don’t always overlap. “It’s funny,” says Irene. “I was at a horse show, and a woman came up to me and said, ‘You know, there’s a jewelry designer with a name like yours.’ I said, ‘Oh, no, that’s me’. I’ll often be at a show polishing my boots and riding my horses at 5 a.m., so I think people don’t think I have a real job.” Irene’s modern and sometimes whimsical pieces eschew the norms of fine jewelry and directly reflect her individuality. Her unconventional mix of gem cuts paired with a panoply of vibrant colors has garnered global appeal, countless design awards, and the attention of upper-echelon celebrities who select her jewelry for red-carpet runway events. Recently, singer-songwriter Nicki Minaj graced the cover of Vogue wearing a pair of Irene’s earrings. Irene’s brand ethos is proving to be highly successful. She intentionally shuns the formality often associated with shopping for fine jewelry and purposely spins whimsy and a welcoming allure throughout her retail spaces. Clever descriptions of her one-of-a-kind pieces, such as gumballs, gum drops, and gemmy gems, conjure images of edible confections, all of which resonate with her clients, who tend to be those embracing individuality. “I think the world has changed, where people like to wear more understated elegance, and so that’s sort of our client,” Irene reflects.

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COURTESY OF IRENE NEUWIRTH

This page: Irene in front of a large-scale horse painting at her Melrose Place store. Opposite page, Clockwise from upper left: Interior of Capitol + Irene Neuwirth store in Santa Monica, California; Exterior and interior views of Flagship Madison Avenue store, New York City, Interior of Melrose Place Flagship in West Hollywood, California; Exterior of Melrose Place.

Irene often credits her mother, painter Geraldine Neuwirth, for her vivacity and carefree approach to color. “I’ve always been wildly creative,” she admits. But at 13, her parents divorced, and Irene was spending alternate weeks with each parent. So, in addition to her creative interests, she fell in love with horses, noting it was a great way to have structure and responsibility in her life. “I like to learn everything about everything. It’s my best attribute and my curse at the same time. It’s the same thing with my business.”

he rode in the children’s hunters until she was 16, when she went off to boarding school in Colorado and college in New England. “I think my parents were grateful for horses in my life but also not interested in me riding every single minute and spending all their pennies. My dad said, ‘Enjoy it now, and when you can afford it later, you can do it yourself.’ I was like, ‘Oh great!’” Irene moved back to California after college and began helping a woman she had ridden with as a kid teach walk-trot lessons and anything else she could do to be around the horses. “My dad told me, ‘You need to get a real job,’ and I said, this is my job.’ To which he reiterated, ‘You’re going to get a real job.’” With tenacity, she got to work. She began drawing and learning how to make jewelry, working with a specialized Gemological Institute of America (GIA) professor. “I learned how to do all the wax carving and metalsmithing. When I put my mind to something, it’s difficult for people to tell me no,” 52 | EQ UE S T R I A N L I V IN G | J AN UARY / FEB RUARY | 2024

she muses. For example, with no other accounts, she boldly decided she would pitch the luxury retailer Barneys New York. “I basically accosted the person there until somebody returned a phone call. They asked, ‘When are you coming to New York’? and I said, ‘Tomorrow!’” Barneys was Irene’s first account. She quickly fell in love with learning how to be a boss, design jewelry, and launch and thrive in the business. She’s been in business for over 20 years, recently opening her third store, a 2,000-square-foot flagship boutique on New York City’s Madison Avenue. The store design maintained her vision of creating approachable spaces and received accolades with declaratives of “a jewel box,” “eclectic,” and “hypnotizing.” Her two California stores, endearingly described as “a whimsical wonderland” and “casual and welcoming,” are in West Hollywood and Santa Monica. “It’s been wildly fun and, [ultimately] it’s allowed me to get back into riding.”

rene’s successful business and passion for horses are mutually beneficial. “Horses are kind of ‘on brand’ and having a moment in fashion,” she notes. “It’s just very authentic. I never want things to feel inauthentic, and my love for horses is certainly authentic.” Irene ended her 23-year hiatus from horses when she contacted a friend from the past to ask where she was riding. She simply wanted to sit, walk, and trot on a horse. “I had dreamed about it for so long,” she explains. Her well-meaning friend told her about a 5-year-old for sale, but Irene adamantly told her she was not buying a horse; “I just want to sit, walk, and trot.” She ended up half-leasing a horse for two weeks but eventually sat on the 5-year-old and purchased him. Presently, Irene has five horses. “I’ve gotten young ones and brought them along, and I’ve been lucky that it’s worked out great so far.” She keeps her horses with trainer John Bragg at Bridgeport Farms in San Juan Capistrano, California. “I’ve had the best time with him, and we’ve become great friends,” Irene smiles. “John and I are a good match. He’s tough on me, but I get him. My secret power is that I have a very good eye and I’m very mathematical,” she adds. “John said, ‘Alright, we get it. We see that you see the distance. Try to get there without making it so obvious.’ I was like, oh, right. It’s the same thing with jewelry. I always want it to be more interesting. I always want to continue learning, and I’m an excellent student in that way.”

STEPHEN JOHNSON AND MICHAEL REYNOLDS

THE INGALLS

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THE SELBY

This page: Irene’s winning table design showcasing her custom-made, equestrian-themed place settings launched at the table-design contest at the Hampton Classic Horse Show. Opposite: Top, Irene on Juan Carlos, her 10-year-old Holsteiner; Irene competing on her bay gelding Holsteiner, Guess Who.

She has no specific rituals before competing but admits to being hyper-focused and never taking safety for granted. She wants to keep herself and her horses safe and well-prepared. “I go in the morning, and I ride my horse until 5:30 because I want to know what to be on the lookout for. I’m controlling. Let’s just say that,’’ she admits. “If I can and have time, I like to visualize the course in my head. John would probably disagree, but I don’t necessarily care about winning. I just want to ride my best.”

PHOTOS THIS PAGE COURTESY OF IRENE NEUWIRTH

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er favorite horse show is Devon. “I absolutely love it, not just because we’ve been successful there, but it just feels so special and old school. As a kid, I didn’t do any of those shows in the East, so I didn’t know what to expect.” She made it to the Hampton Classic Horse Show last summer, but not to compete. Instead, she was there to launch her line of equestrian-themed tabletop place settings. “I wanted to do it for a very long time, and Anthony Dominici, a television producer and the cousin of my long-time boyfriend, had fallen in love with making ceramics. So, on New Year’s Eve and after a generous glass of tequila, it was like, ‘should we?’” They worked feverishly for almost a year, realizing they could hustle and try to launch it at Hamptons Cottages & Gardens magazine’s famed table-design contest. “I’d never been to the Hampton Classic, so I didn’t realize it was such a big deal,” Irene confesses. “I was like, I want to win. If we’re going to do it, we have to win. I had no clue. I love to do things over the top. I just had no idea how over-the-top people went. It turned out beautifully, and it was so much fun.” Much to her delight, their combined creativity earned their table design the first place, Best of Show award. (See EQLiving Nov/Dec 2023.) Irene attributes a lot of her successes in life to riding. “It’s improved my life, my anxiety, my ability to be a boss, to be a friend, and to be a girlfriend and a partner. It’s just been so healthy and good for me,” she acknowledges. This wonderfully imaginative artist has found a personal philosophy that maximizes her creativity, individuality, and success in her favored spheres of jewelry design and equestrian sport. Animals are also integral to her well-being. “I have two dogs and five horses,” laughs Irene. “I’m like a borderline ‘Ace Ventura’.” CONTACT INFO | PAGE 94

PHOTOS THIS PAGE ALDEN CORRIGAN

EQ D E S I G N

DESIGN MASTER CLASS

LEARN FROM A M E R I C A’ S PREMIER DESIGNER S

IGNITE YOUR IMAGINATION

...with Equestrian Living’s portfolio of beautiful homes and stables —both modern and traditional—

CODY WORTMANN

from around the equestrian world.

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A LUXURY BARNDOMINIUM Location: Wisconsin Builders: Timberlyne

family farm for several generations, the owner recalls her grandparents milking 15 cows in this barn. Now, the main living space in this multi-use building occupies a 15-by-60-foot lean-to with living space, kitchen, bathroom, and a combination office/utility room. It offers an ideal sanctuary for a couple whose grown children have left the house yet live nearby. Venture further into the main barn and loft, where the atmosphere transforms into a vibrant party barn, resonating with laughter, shared family meals, and entertaining festivities. The barn’s main floor is used for gatherings and the loft is a fun zone for children or quiet relaxation. The cozy and intimate setting provides the perfect retreat for creating new memories and embracing the warmth of togetherness. It’s a place where joy and love intermingle, creating a truly unforgettable ambiance. PAGE 94 | 2017 DE C E MB JA NUA E R/JARY/FE NUA BRY RUA RY | |2022041 8| EQ L I V I NG .CO M | 5 7

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MEADOW CREEK FARM Location: Blue Ridge Mountains, Virginia Architect: Blackburn Architects

CHAD JACKSON PHOTOGRAPHY

discrete entrance off Skyline Drive ushers visitors to Meadow Creek Farm in the Blue Ridge Mountains of western Virginia. The farm’s driveway passes through the remnants of an old apple orchard before revealing the dramatic vision of a new barn and connecting 100-by-200-foot indoor arena. Design inspiration for the barn and arena came from the farm’s mountainous, rocky setting. Locally sourced field stone and heavy timber overlay rustic elegance to the equestrian estate’s exterior. The interior includes eight stalls, an observation lounge, a tack room, wash stalls, and veterinary and farrier spaces. The arena is carefully situated behind the barn to minimize its visual scale, four feet below the pad of the stable. Visitors see the gorgeous barn first, not the large riding arena. Sustainable features are plentiful. The enlarged natural pond accommodates storm water runoff, pastures filter water, and there is an efficient O2 manure-composting system. The historic apple farm dates to the 1600s, and the result is a legacy property ready for the next 100 years of well-loved use. PAGE 94 | 2017 DE C E MB JA NUA E R/JARY/FE NUA BRY RUA RY | |2022041 8| EQ L I V I NG .CO M | 5 9

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HÍPICO PIEDRA GRANDE CLUBHOUSE AND CENTER Location: Salazar, Huixquilucan, Mexico Architect: STUDIO RC / Juan Pablo Ramirez Capdevielle Construction: Grupo ARGO

PHOTOS: CESAR BELIO

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ípico Piedra Grande is located on approximately 20 acres surrounded by forest and has 110 two-level stalls, and sand tracks, gravel roads, and green areas. They wanted an equestrian club that would house more than 80 horses with the aim of creating a unique equestrian center promoting sports in the area and including a social clubhouse with different programs. The architects’ goal was to alter the land as little as possible and use the stone and wood on the site. They designed the project with a structural rhythm that made the building rectangular and simple. Due to the type of soil, they decided to opt for a system based on columns and steel beams, thinking that the roof could be used for different events in the future. The stables are divided into three modules on two levels linked by steel bridges, creating an open central patio. Now, the Hípico Piedra Grande clubhouse and center is a valuable asset to the community. It provides a space for horse enthusiasts to come together and enjoy their passion. The building also implemented several strategies to maximize reuse and reduce its carbon footprints, demonstrating that creating a beautiful and functional structure that reduces environmental impact is possible. PAGE 94

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FAIR HILL TRAINING CENTER PARLO II BUILDING Location: Fair Hill, Maryland Builder: B&D Builders Architect: Eldon R. Stoltzfus Timber Framing: Mid-Atlantic Timberframes J.BANNON PHOTOS

Trainer Michael Matz

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n the grounds of Fair Hill Training Center in the northeast corner of Maryland, a long-standing partnership centered on the love of horses has a new home. These partners, one a respected horse trainer, the other an owner of a reputable equine veterinary clinic, received a disastrous phone call on Christmas Eve 2021. Their shared barn facility, Parlo II, had burned to the ground. Luckily, no people or horses were harmed, but what was left in the ashes was a commitment to rebuild the facility together. The Parlo Partnership originated from a conversation between legendary Thoroughbred trainer Michael Matz and renowned veterinarian Dr. Kathleen Anderson. Matz, whose competition credits include membership on three U.S. Olympic show-jumping teams and a goldmedal-winning 1986 World Championship team, is perhaps best known as the trainer for 2006 Kentucky Derby winner Barbaro and 2012 Belmont Stakes winner Union Rags.

Dr. Anderson has provided ambulatory and outpatient services as a founding partner and co-owner of Equine Veterinary Care. The facility was designed to fit the previous building’s footprint, with improvements gleaned from more than two decades of shared use of the space. The owners wanted to provide more natural light and ventilation for the horses, improved storage for hay and straw, additional treatment stalls on the veterinary side, a frontfacing entrance, and conference and meeting rooms on the second floor for community use. Building spaces specifically for Thoroughbreds brings unique challenges. “They are very highstrung animals and tend to break things quickly if it’s not constructed properly,” said Daniel Glick, owner and co-founder of B&D Builders. “We have either re-built or renovated 12 barns at Fair Hill, dubbing them the ‘B&D Proving Grounds’. If it works at Fair Hill, it will work everywhere!” PAGE 94

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HOLLAND ESTATE BARN Location: The Cascade Mountains Architects and planners: McClellan Architects Builder: DME Construction Stalls: Classic Equine

ucked into the foothills of the Cascade Mountains, this estate was conceived as a breeding and dressage facility. The design was to be traditional yet current with a palette of low-maintenance materials. The master planning of the 20-acre site considered the views of the facilities from the owners’ home, utilization of existing pastures, and loafing sheds. Designers analyzed the efficient and safe circulation of horses, visitors, and vehicles to maintain a sense of elegance upon arrival. The barn features 10, 14-by-14-foot stalls with paddocks plus a foaling stall. Grooming bays and a wash stall are adjacent to a spacious tack room with a lounge. In addition to the large hay loft, the main level holds a feed and grain room with access to laundry, bath, and kitchenette. The design created a space familiar in its traditional form, but elevated by the sophisticated detailing and simplicity of the materials palette. These architectural details are highlighted in soft light by the expansive skylight that runs the length of the roof ridge, showering the barn with natural lighting. PAGE 94

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WINDURRA USA Location: Cochranville, Pennsylvania Architect: Archer & Buchanan Architecture Builder: McComsey Builders Footing & Kick Walls: Attwood Equestrian Surfaces

indurra USA, located in Cochranville, Pennsylvania, serves as the main training facility of international eventing athlete Boyd Martin and international dressage athlete Silva Martin. The world-class complex, set on over 75 acres, includes a 100-by-220-foot indoor arena designed by Archer & Buchanan Architecture of West Chester, Pennsylvania. The firm’s familiarity with equestrian training needs, practices, and principles—combined with the Martins’ goals culled from their myriad experiences riding in arenas worldwide—resulted in a truly world-class facility. The steel structure with insulated roof, ridge skylight, fully operable glass garage-style doors, and custom curved kick wall provides a functional enclosure for the EuroTex footing arena with subsurface watering.

See Equestrian Living’s visit to Boyd Martin’s farm in the May/June 2022 issue.

JANA BANNON PHOTOS

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OAKRIDGE FARM Location: Bedford, New York Builder: King Construction

ancaster County, Pennsylvania-based King Construction has been designing custom buildings since 1978. Each space is as unique as each client; therefore, no two completed projects are alike. This project, situated in upstate New York, combines luxury and purpose-built design and has been built to last for generations to come. King’s goal was to maximize the horses’ happi-

ness and well-being with as much natural light, ventilation, and visibility to the other horses in their “herd” as possible in a barn. They used extra-wide aisles, skylights above each stall, and operable skylights along the roof’s ridgeline. They bring in light and, when opened, create a convection effect. As heat rises, cooler fresh air is drawn in. Each stall features Dutch doors and low open, stall fronts and partitions. The

REBEKAH DIEM / KING CONSTRUCTION

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working areas of the barn (feed room, storage, tack room, kitchen, and grooming stalls) are located away from the horses’ living space. Winters can be cold in the northeast, so radiant heat under the aisle is available when needed to moderate extreme temperatures to keep the horses in their ideal range. The owner says, “King helped us create a barn that both the horses and people love to be in.” PAGE 94

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4B RANCH

Location: Stephenville, Texas Stalls, doors, windows, flooring: American Stalls Builder: Prime Metal Buildings Architect: Mustard Design

CHARLES DAVIS SMITH

hen Austin Brown, the owner of Prime Metal Buildings & Components set to build a dream barn for his horseloving daughters, he called upon Mustard Design Architects to help create the vision and American Stalls to provide custom stable equipment. The sizable metal structure was naturally designed and manufactured by Prime Metal Buildings. The barn features five stalls with spacious covered runs, a 1-bedroom, 1-bathroom apartment, and an attached, covered arena encompassed by a large pull-through driveway. To the left of this entrance is the ground-level apartment with a separate entrance. The mixture of stone and metal pairs perfectly, creating a modern and clean aesthetic. Inside, the barn houses products sourced from American Stalls, including fully custom mesh stall fronts, mesh partitions, hinged barn end doors, dutch doors, rubber pavers for the aisle, and interlocking rubber mats. Across from the stalls is a feed room, tack room, bathroom, and wash bay. The contrasting chevron print wooden wall brings in an element of warmth while lending a practical design feature. The end result is a private barn that will serve this family for generations to come. PAGE 94

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TWIN SILO RESIDENCE Location: Doylestown, Pennsylvania Architect: Period Architecture

Construction: EC Trethewey Building Contractors Timber Framing: Mid-Atlantic Timberframes

ANGLE EYE PHOTOGRAPHY

n the heart of Bucks County, Pennsylvania, horse country is a 27-acre property, home to a classic stone farmhouse. The farmhouse blends traditional with modern practicality and beautiful surroundings with family and farm. The homeowners enlisted Period Architecture to design and EC Trethewey Building Contractors to build an addition that created a new kitchen, master suite, mudroom, and family room. The original home, built sometime between 1790 and 1818, also required a complete renovation that created a more practical transition from farm to family life. This home exudes the charm of bucolic Bucks County while bringing together the elements that make a family home shine. PAGE 94

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BLACK OAK FARM Location: Loudon County, Virginia Architect: StudioMB

Landscape: Campion Hruby Landscape Architects Timberframe: Mid-Atlantic Timberframes

ANGLE EYE PHOTOGRAPHY

PAUL WARCHOL

lack Oak Farm nestles on 200 acres in Loudon County, the heart of Virginia’s horse country. The event barn and stable reimagines family life with horses. StudioMB and Campion Hruby sited the traditionally built, post-and-beam structure in the green, rolling terrain. As a bank barn built into a hill, the building presents quietly from the uphill side. Its upper floor is a family event space with full kitchen, living, and dining areas. But from downhill, the scope of the project reveals itself, and a viewer sees that the lower level is a six-horse stable with stone walls and black-accented wooden stall doors. More windows span the length of the northern and southern walls, filling the space with natural light. “Building the barn new from the ground up allowed us to orient the building and bring light and fresh air in for a healthy stable,” says Adam McGraw, principal at StudioMB. “Bank barns can be low and poorly ventilated, but we had the chance to build it taller, give it nice windows, and face it to the prevailing winds so the horses are always comfortable.” PAGE 94

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BAY ACRES Location: Victoria, British Columbia, Canada Builder: WeCover Equine Structures Architect: Quinis Equestrian

his beautiful, 71-by-136-foot private training facility was designed for yearround training and comfort. Featuring an 8-foot-wide ridge light, and windows on all sides, this insulated facility combines an abundance of natural light and climate control for a focused riding experience. Custom stalls and an enclosed mezzanine that doubles as a personal training room and viewing area are additions that took this arena above and beyond. WeCover works across North America. PAGE 94

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VINEYARD STABLES Location: Martha’s Vineyard, Massachusetts Builder: Chris Caston Builder Timber Frame: New Energy Works Architect: Patrick Ahearn

BOB GOTHARD ARCHITECTURAL PHOTOGRAPHER

his traditionally styled heavy timber horse barn on Martha’s Vineyard is big on aesthetics and small on square footage. “One of the goals was to keep the overall space light and bright, from the tack room to the stalls and the spaces in between and above, for the benefit of the horses and the enjoyment of the people experiencing the barn,” explained architect Patrick Ahearn. “New Energy Works has been a great partner to build out our designs. In the past three years, we’ve done more than a dozen barns with them all over the country, from Ohio to outside of Boston, and this project on the Vineyard. They’re fabulous to work with.” The four-stall barn is only 36-by-36 feet but comfortably features a functional hayloft, recreational bar area, and deck overlooking the water. Designed to complement the existing home on the property, the barn was a passion project for the homeowner, a life-long horse lover. “This horse barn is one of the most beautiful barns on the island of Martha’s Vineyard,” the homeowner said. “Lots of credit to the architect, builder, carpenter, and New Energy Works team, because there were a lot of people working together to craft this barn and highlight the timber frame. It is a very special place to me.” PAGE 94

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THE MONUMENTAL SCULPTURES OF

NIC FIDDIAN GREEN The English-born sculptor depicts the power and beauty of the horse with poignant grace.

ALL PHOTOS HUGO BURNAND/ SLADMORE GALLERY

INTERVIEW BY JILL NOVOTNY

Still Water, 6-foot bronze, 2014, at Reschio Estate, Italy. 76 | EQ UE S T R I A N L I V IN G | J AN UARY / FEB RUARY | 2024

“THE DIFFERENT MATERIALS I HAVE WORKED WITH, ALL RIPPED AND PULLED OUT OF THE EARTH’S CRUST, GIVE ME MATTER TO WRESTLE WITH, EMOTIONALLY AND PHYSICALLY.” ~Nic Fiddian Green

Trojan Head, 12-foot hammered copper panels, 2015, at Reschio Estate, Italy.

JA NUA RY/FE B RUA RY | 20 2 4 | EQ L I V I NG .CO M | 7 7

David, architecture and its balance, proportion, and harmony, my father’s use of a silver pencil, and the annual making of marmalade. What first drew you to sculpt horses over other subjects?

There is only one animal—the horse embodies and carries everything I am not. Representations of the equine form can be visible in some of the oldest surviving examples of Western Art, notably the Chauvet and Lascaux caves in Southern France. Emphasis on this animal, from prehistoric creativity—the Lascaux caves contain 364 drawings and pigment paintings of horses thought to be 17,000 years old—has albeit declined alongside their removal from our daily lives as vehicles for transport, tools for labor, and warfare. The physical decline of the horse within 20th- and 21st-century life suggests that their consistent presence in my work is of more metaphorical value. The horse embodies values of grace, strength, acceptance, beauty, serenity, nobility, loyalty, silence, connection, and suppliance, which are all so powerful to us. Your work is famously displayed in public spaces, but it is also found in many private collections across the world. Do you feel differently about work that is public or private, and does it affect your creative process? Sculptor Nic Fiddian Green.

Your work feels deeply traditional yet very modern. Can you speak of your inspirations and influences, as well as how you see yourself breaking away from them?

In 1983, when I was studying at Chelsea College of Art, I was sent to the British Museum on a transcription project, with the brief to go and draw something that inspired me. When I was there, I came across the Elgin Marbles/Parthenon Frieze, and they greatly impacted me, in particular, the Horse of Selene. These Greek principles of perfection, harmony, proportion, balance, and seamless craftsmanship have stayed with me ever since. It is this which I think most makes my work classical and traditional, combined with the use of traditional practices such as hand-carving, hand-modeling, and working in bronze. My work has often been regarded as modern through the daring use of scale, which has become a well-known characteristic of my practice—everything I found in one encounter with a single head of a horse carved in marble. A few of the influences that affect me most significantly include the English countryside, Beethoven, Donatello’s 78 | EQ UE S T R I A N L I V IN G | J AN UARY / FEB RUARY | 2024

I feel my work is a way in which I have tried to turn the invisible into the visible, be it just a feeling or a human principle. It is a story of my journey, and as I walk, I desire to speak and tell that story through the head of a horse. Perhaps my initial intention way back at the start was to make something “sing a beautiful song,” and maybe, through the various mediums I have turned my hand to, I have tried to create something that might be felt and even responded to, following a chance encounter by a passerby. My goal when creating work for public spaces is to create something open, honest, and inclusive to share my story and meet the world. Fundamentally, public work offers an opportunity for connection. In what ways do you work with materials to achieve different colors? What do the different materials lend to your work?

The different materials I have worked with, all ripped and pulled out of the earth’s crust, give me matter to wrestle with, emotionally and physically. The different limitations or possibilities of each allow me the chance to approach each piece uniquely, from clay to Burmese jade, lead to marble, plaster to gold, and on and on: alabaster, copper, wax, silver, lapis, malaContinued on page 82 chite, and on, always curious.

“My greatest work so far is perhaps the 14-foot marble of How Still the Night. It is, for me, coming close to that place where it is balanced in all its parts—beautifully executed and beautifully engineered, meticulously complete and finished—for me, I am very proud. The future—one day, to rest and know that I am just a messenger of a story that was written long ago, and I have used my hands to express something that I don’t even know exists, and I hope that some may stop and just smile in their hearts.” ~Nic Fiddian Green

How Still the Night, 14-foot hand-carved Carrara Marble, 2022, at Reschio Estate, Italy.

Nic’s most famous work to date is his 33-foot-tall Still Water bronze in Central London. In its freestanding nobility, the piece offers itself for the public to witness from any angle. The low base is often sat or leant on by members of the public in the summertime, allowing engagement in both an intimate and candid way. Since its installation at Marble Arch in 2010, it has had an impact on daily commuters, rendering its presence today freely obvious and indispensable. The charming relevance of having a sculpture by a British artist situated at the heart of the capital is enhanced by the flurry of red buses, alongside the Household Cavalry who ride down from Hyde Park Barracks every morning, whatever the season. The reality of Still Water depicts a horse drinking, an action only carried out when the animal is completely calm, safe, and in control. With this understanding, the universal appeal of such tranquility renders this monument inspiring and impactful. Still Water, 33-foot bronze, 2010, at Park Lane, London, U.K. JA NUA RY/FE B RUA RY | 20 2 4 | EQ L I V I NG .CO M | 7 9

PHOTO SARAH EBBETT

Artemis, 27-foot bronze, 2010, at Ellerston Polo Club, Australia. 80 | EQ UE S T R I A N L I V IN G | J AN UARY / FEB RUARY | 2024

Nic Fiddian Green’s recently completed 24-inch tall carving from solid Lapis Lazuli sourced from Afghanistan.

Copenhagen, 12-foot bronze, 2013, at Ascot Racecourse, U.K. Based on the Duke of Wellington’s warhorse, Nic’s 12-foot sculpture Copenhagen (now situated at Wellington College and Ascot Racecourse) is a tale of beautiful conflict. When seen facing the left, the piece is kinetic, dynamic, and reflective. By contrast, when seen facing the right, he is consumed by angst, with near-violent modeling that leaves the nose twisted towards you. A balance of War and Peace, the emotive testament of the mighty head evolves as you walk around it. The clay medium of its creation has been highly central in achieving the energy of this testament and the stark contrasts it possesses. The cast at Ascot Racecourse is another example of

how these monuments may sing to their respective landscapes despite not being specifically commissioned for this location. Although Ascot has a highly historical relationship with horses, the poised energy of Copenhagen works to perfectly complement the range of excitement and anticipation one may feel at any racecourse. The sculpture in the pre-parade ring foreshadows, (in Copenhagen’s case) War and Peace, (in Ascot’s case) triumph and frustration. This sculpture was purchased in 2018 by the Ascot Racing Authority as a gift to Prince Charles to mark his 70th birthday. (Extract from Nic Fiddian Green through the Lens of Hugo Burnand, 2023. Sladmore Gallery.)

Mighty Horse, 12-foot bronze, 2021, at Wintershall Valley Farm, U.K.

Still Water, 66-centimeter, hand-carved Lapis Lazuli, 2023.

Nic patinates his bronzes differently to achieve a variety of colors but prefers to work with verdigris to give a piece an aged, natural effect.

Continued from page 78

When beginning a new project, how do you decide on the scale?

Scale finds me; I have no real plans. I wait and am often guided by an unknown hand that prods me into each process of making and working. One leads to another and on to the next, and sometimes it goes to a monumental scale, and sometimes it fits in the palm of my hand. Can you describe a bit about your process?

The process is something like this: from awakening at dawn to the end of the day. When I am inspired or driven, I cannot wait to get up in the morning, and I will travel through the work until that work is complete. I am impatient, for I am aware that there is only so much time, and I have to work to live, or as the English do at times, I live to work, and yet I am just searching for that perfection which I know I will never find, and yet my joy is in the journey, for the journey gives me purpose.

Nic Fiddian Green in the studio.

Each material teaches me how to listen and respect, and then to respond to each. My overriding desire is to learn. I am always searching, and always with the knowledge that I will never arrive or find that place of perfection, and yet, along the way, I excitedly find and make some work that brings me closer towards it. I enjoy learning how little I know and the great unexpected moments when something is revealed from the core of each material. Working in bronze is a fabulous medium as it is age-old and practically everlasting. I then patinate my bronzes differently, allowing me to achieve a variety of colors. I mostly like to work with verdigris (green) to give an aged, natural effect or brown hues which I think link to more classical symbols of strength. Bronze is also extremely powerful on large-scale works, safe to install in water, and very strong against the elements. (See Still Water pages 76 and 79 and Mighty Horse page 81.) I have been working since lockdown with a number of semiprecious stones to make smaller carvings by hand. I recently completed a 24-inch-tall carving from solid Lapis Lazuli sourced from Afghanistan (See Still Water page 81). The color of these stones is sensational, from the vibrancy in lapis and malachite to soft pastels in jade, rose quartz, chrysoprase, etc. Finally, I have made a number of large-scale Carrara marble carvings over the past few years, ranging from 7 feet to 14 feet high (See How Still the Night page 79). I work on these in Pietrasanta, Italy, near the Carrara quarries. The studio I work at is the last to carve works of this scale by hand, without the use of robots or machinery. It is a beautiful process. 82 | EQ UE S T R I A N L I V IN G | J AN UARY / FEB RUARY | 2024

Note: Nic usually begins modeling with clay and plaster, and then once pleased with this initial piece, he has it scaled up, if the intended work is larger than 6 feet. Once he gets the scaledup version, he then reworks the whole surface, adding more clay or plaster as he sees fit. Once completed, the work will go to the foundry to be cast in bronze before Nic patinates it. He also works in hammered lead and copper sheet, joining the sheets together with rivets over a fiberglass form. (See Trojan Head page 77.) Do you begin with a complete design in mind, or do projects evolve as you work?

The work drives me on and leaves me—I know little at the beginning of a piece of work, yet as I go down the road, it is revealed to me where and how to make and forge and change the shape and form of that piece to make it stand up and balance and maybe “sing” in its heart. What do you consider your greatest accomplishment, and what goals do you aspire to/future projects do you have in mind?

My greatest work so far is perhaps the 14-foot marble of How Still the Night. It is, for me, coming close to that place where it is balanced in all its parts—beautifully executed and beautifully engineered, meticulously complete and finished—for me, I am very proud. Whilst I have already sold a number of monumental sculptures to clients in America, my most important future project is an American touring exhibition in conjunction with The Sladmore Gallery, London, who have been my agents for the last twenty-five years. This will begin in Wellington, Florida, in February 2024. For further information, please email nfg@sladmore.com or visit www.nicfiddiangreen.com CONTACT INFO | PAGE 94

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17652 Shetland Lane, Loxahatchee, FL 33470 | 5 Bedrooms, 3 Baths | $1,325,000 Listing Price Discover this 5-acre equestrian haven, featuring a sprawling 5-bedroom residence. The master bedroom offers a walk-in closet, en-suite bathroom, and a charming outdoor porch. Inside, a well-equipped kitchen and thoughtfully laid-out living areas invite you to unwind. The property shines with a recently refurbished pool, a sturdy CBS barn boasting 4 stalls and a wash stall, plus a host of horse-essential amenities. Surrounded by lush, mature trees and landscaping, a bridle path and several paddocks await your horses. Safety is paramount with Ring cameras, newer roof, generator, and impact-resistant windows and doors. Conveniently located near Southern Boulevard and Binks Forest Drive, this is a dream for equestrian enthusiasts seeking a serene retreat. 86 | EQ UE S T R I A N L I V IN G | OC TOB ER/ N OVEMB ER | 2016 Visit RobertRossPA.com for more info and listings.

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11863 Wimbledon Circle 438/439, Wellington, FL 33414 $629,000 Listing Price | 2 Bedrooms, 2 Baths Explore a unique opportunity with this versatile ground-floor condo. This beautiful turnkey unit can be easily transformed into two distinct spaces: a 1-bedroom residence and a separate studio, each with its own private entrance, kitchen, and washer/dryer. Whether you’re in search of an income-generating property or a luxurious living space, this home offers a perfect blend of flexibility and elegance. With mesmerizing pond views and direct pool access, this one-of-a-kind property is as adaptable as it is stunning. Located just minutes from the renowned WEF and Global Dressage events, you can savor the equestrian season in style!

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THE FORTUNE SELLER

Continued from page 28

CL U OK

TH N S EE ER W V T O E C B

“She was like nothing I’d ever seen. I think she just loved to move.”

“I’ve asked her. What do you think?” “Nobody can tell you that,” I said firmly. “You decide for yourself. You decide every day through the way that you work and the time you put in. You have everything you need to do it if it’s what you really want. But you’re not going to get there if your only desire is to outdo your father. Fear’s not going to get you there. Only love.” I stopped short, amazed that I’d had the balls to bring up Grayson, her favorite person in the world, in even remotely negative terms. I braced myself for her reply, but she just nodded slowly as she plopped the saddle on Thumper’s back. He flinched. “See, there,” she said. “There’s the old Rosie.” I cocked my head, questioningly. “You never tell me what I want to hear,” she clarified. “Not ever. And so I always want to hear it.” “Oh,” I stammered. “Well, good.” I watched her finish tacking Thumper with a weird ache in my throat. Imagining her days on the circuit, I couldn’t help thinking that in the best-case scenario, my life next year would consist of fourteen-hour days behind a desk. No matter how glamorous the setting, how plush the benefits. How good the title. And hers would be—what? Speeding the Range Rover to misty early-morning practices, pushing her body to its limits, working in sync with this beautiful, vicious creature before us—I clenched my fist, letting the sting of the bite pull me back into my body. It was ridiculous. You couldn’t miss something while you were still living it. Thumper pranced down to the paddock with his new tack; I stayed carefully on the other side of Cress. It was still summery in the valley where the stables were. The paddock was on perfectly flat land, but the hills rose up around it, thick and green and so leafy you felt like you could run a comb through them. The afternoon sun was slanting down sideways, gilding us all, getting in my eyes as we turned into the ring, where a single figure rode a punishingly difficult course. It wasn’t high— the highest fences were about three feet—but it had a few rollback turns, in which the horse landed from a jump and had to immediately take its thousand-plus pounds and heave them in the opposite direction. It was fiendish; Shannon had never set anything nearly as difficult for Cress, even. Also, Annelise was on Jazz, a real bitch of a mare. Jazz hated everybody and everything. She was fast 88 | EQ UE S T R I A N L I V IN G | J AN UARY / FEB RUARY | 2024

as you like—or rather, fast as she liked, because she had two speeds, stop and go, and changed them to suit her whims. Beyond that, Jazz was small, only just over fourteen hands, and even from across the ring I could see that Annelise made her look even smaller. She was solid, Annelise: tall, with muscle to her. Like an Amazon. I looked around for Shannon, ready to share my excitement with someone who wasn’t Cress. Cress had sung Annelise’s praises, sure, but I’d had no idea. This was a winning rider. This was a champion. I didn’t know what Cress was. Had I given her false hope? But Shannon was nowhere to be found. Running a stable isn’t easy, and she was always darting from one place to another, hard to pin down as a mosquito. Still, though. Who would give a young rider a course like that to do and then just walk away? Annelise was more than capable of riding it. Of dominating it, even. But better riders than her have fallen on easier courses. There’s just an inherent danger to the sport, and I couldn’t believe she was allowed out there alone. But she was only alone for another second. Annelise started the course again just as Cress and Thumper entered and began walking around the outside of the ring. College riders don’t ride for speed. We rode for equitation: the apparent effortlessness with which we effectively communicated with our horses. In other words, how much we could make it look like we weren’t doing anything at all. And Annelise, on Jazz? They looked like one being. They looked like a fucking centaur. Jazz was fast, but I’d never seen her as fast as she was going that golden afternoon, cantering so quickly that I had to listen for the hoof beats for a moment, make sure it wasn’t a gallop. And the way she pinged over the jumps, it was like she was a different animal altogether—a rabbit, or a kangaroo, something with springs in her legs and a desire to please. Up, down. Pivot, around. Two strides and over, and a turn I’d have had a hard time making on my own two feet. She was like nothing I’d ever seen. I think she just loved to move. She was so wonderful that I didn’t even notice Thumper’s magnificence until Cress trotted by at the end, pulling her new animal sharply out of the way of the temperamental mare. Then his shine caught my eye— And all I could think was, Annelise should be riding him. INFO | PAGE 94

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essica Jones, the visionary behind Equestrian Gardens, conceived the concept to infuse the natural beauty found in local parks and home environments into the lives of constantly moving equestrians. Dedicated to their horses, these individuals often find little time for relaxation, with moments of respite revolving around the barn or bedtime. Recognizing the need for rejuvenation and creativity for both horse and rider, Jones envisions gardens as a key element in achieving these goals. “Equestrian Gardens aims to recognize that for both horse and rider to perform at our best, we need to rejuvenate our senses, find moments of relaxation, and tap into our creativity,” says Jones. The scents, textures, and inherent beauty of gardens play a pivotal role in creating inspiring environments, whether at the barn, café, or ingate, fostering new pathways for optimal rides. Jones established Equestrian Gardens with a broader vision—to bring about positive environmental change and community development within the equestrian industry. By advocating for the reduction of plastic flowers prevalent in the sector, the company aims to minimize harm to wildlife and reintroduce biodiversity. Moreover, Equestrian Gardens commits to establishing

EQUESTRIAN GARDENS Jessica Jones brings gardens to equestrians, wherever they are. BY ALI S. KELMAN

temporary and permanent gardens, supporting local communities by sourcing supplies from nearby growers and providing specialized horticultural skills to workers. The company’s commitment extends to horse shows, transforming them into public park-like spaces open for leisure activities. Professional equestrian Sara Taylor praises Jones for her commitment to aesthetic and environmental improvement, “I met with Jessica this summer

92 | EQ UE S T R I A N L I V IN G | J AN UARY / FEB RUARY | 2024

and immediately was drawn to her business idea of adding a new touch to the show rings, jumps, and our setups,” she explained. “I wanted the flowers and benches she had at her shop for my setup at the shows, and she personally delivered them all that day. It’s nice having someone in our industry who wants to make things more aesthetically pleasing and environmentally friendly where we show and at our barns. She does it all with a colorful and personal touch.” Equestrian Gardens’ efforts to reduce plastic use contribute to the restoration of biodiversity in horse shows, reminiscent of the days when nature was integral to equestrian journeys. Collaborating with HITS on Hudson, the company incorporated real flowers and plants into their derby, including a “Living Log” adorned with beautiful flowers, enhancing the event’s visual appeal. “Jessica and I spoke at length about the HITS on Hudson derby course design,” recounted Jimmy Toon of JT Stables. “The Living Log she designed with the perennial garden elevated the look and feel of the derby.” The company specializes in custom landscape design for equestrian properties and events, considering client needs, location, season, and climate for tailored plans. CONTACT INFO | PAGE 94

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Pantone Page 56 – – pantone.com American Stalls newsstand price. americanstalls.com Liberty*Off London To pay by CREDIT CARD, go to www.EQliving.com/subscribe libertylondon.com Archerplease & Buchanan GALLERY Madewell Bag Architecture Page 76 madewell.com archerbuchanan.com Nic Fiddian Green Shan Cosmetics Equestrian nicfiddiangreen.com Mail couponAttwood with your check to: sbscosmetics.comEQ LIVING Surfaces nfg@sladmore.com MAGAZINE Spoonflower equestriansurfaces.com BOX ONE spoonflower.com B&D Builders PEOPLE BROWNSVILLE, VT 05037 banddbuilders.com Page 92 GIVING BACK Blackburn Architects Jessica Jones Page 32 Equestrian Gardens Or use yourblackburnarch.com credit card online: The Great Charity Campion Hruby equestriangardens.com EQliving.com/subscribe Challenge Landscape Architects greatcharitychallenge.com campionhruby.com Classic Equine STYLE classic-equine.com Page 36 Swing Into Suede

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DESERT CIRCUIT 2024 1: JANUARY 10-14 Jumper Level 4 | National Hunter

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DREAM FETCHERS Meet the UNSTOPPABLE DOGS with over a hundred thousand followers. BY JILL NOVOTNY

PETE COCO PHOTOGRAPHY.

estled in the sunny coastal city of Huntington Beach, California, a remarkable non-profit organization named Dream Fetchers is rewriting the narrative for eight extraordinary dogs. Meet the Unstoppable Dogs—Peedy, Zeek, Eddie, Pop, Elliot, Stevie, Rudy, and Sydney. These “handi-capable” canines, each facing unique physical challenges, are proving that love knows no bounds. Dream Fetchers, founded by the passionate and devoted Debbie Pearl, goes beyond being just an organization; it’s a beacon of hope, love, and inspiration. The Unstoppable Dogs have become digital sensations on their Instagram account @theunstoppabledogs, amassing over 138k followers and creating their own kind of celebrity. Debbie Pearl’s journey with dogs began as an apprentice to a service dog trainer, later evolving into a professional dog trainer. Her love for animals led her to establish Paws for Effect, a company that brought animals from the set to the big screen, working with A-list celebrities like Brad Pitt, Angelina Jolie, and Tom Cruise. However, the pivotal moment for Debbie came during a fundraiser at St. Jude Children’s Hospital in Memphis in 1994 that coincided with the release of Disney’s Iron Will. Witnessing the enchantment and impact of moviestar dogs like Beau on sick and

underprivileged children inspired her to create Dream Fetchers in 2005. In 1995, she founded Paws for Effect, a company that trains animals for the motion picture industry. The Unstoppable Dogs embody Dream Fetchers’ mission. Rescued from the streets and shelters, these dogs were initially discarded, unloved, and unnoticed. However, under Debbie’s care and guidance, they’ve undergone

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a transformative journey from death row to becoming ambassadors of joy. Dream Fetchers provides animal-assisted therapy to various programs, including hospitals, nursing homes, rehab centers, schools, and charity and other community events. When Debbie met Eddie, a terrier-mix with severe spinal trauma, she was moved by his spirit. Found injured, dragging himself through the streets, Eddie faced euthanasia until Dream Fetchers intervened. Initially, it was challenging to find a forever home for a “wheelie” dog, but Debbie saw an opportunity to bring Eddie’s inspiring spirit to those in need. “We can be out, and we can bring people to tears. Especially kids, sometimes just to see another creature on wheels, they just connect to it and it’s really powerful,” says Debbie. Debbie Pearl’s commitment to showcasing the love and resilience of these dogs is inspiring. Through their stories, she aims to instill hope and belief, not just in the potential of every dog but in the hearts of those facing challenges. “Now, it’s more about how we can help others by inspiring and giving hope—we just want to give hope,” says Debbie. “Everybody’s reaction is positive,” she says. “They thank me. But it’s not me, I’m just the one holding the leash. They do their magic all on their own.” CONTACT INFO | PAGE 94

USEF

WINTER SWEEPSTAKES WELLINGTON EXPERIENCE

WINNER WILL RECEIVE: • 2 VIP Tickets to the 2024 Winter Equestrian Festival Friday, March 15 Dressage CDIO5* & Saturday, March 16 Jumping CSI4*

• 2 Delta Airline Flight Credits • 2-Night Hotel Accommodations • Plus: A Behind-the-Scenes Experience with a U.S. High Performance Athlete

From Dec 15 to Jan 21 Scan below to enter